主演：馬里烏什·德莫霍夫斯基 貝婭塔·蒂?；S茨 菲耶夫斯基·塔德烏什 Jadwiga Gall 維斯拉夫·格拉斯 卡里娜·謝魯斯克 Jan Koecher 揚(yáng)·克雷奇馬爾 塔德烏什·孔德拉特 Halina Kwiatkowska 安杰伊·瓦皮茨基 揚(yáng)·馬休斯基 Józef Pieracki Janina Romanówna Anna Seniuk Irena Szramowska Wladyslaw Dewoyno 盧德維克·伯努瓦 克雷斯蒂娜.費(fèi)爾德曼 Aleksander Fogiel Andrzej H
導(dǎo)演：沃伊切赫·哈斯
簡(jiǎn)介：The Doll is an adaptation of the novel, The Doll (novel) by Boles?aw Prus, which is regarded by many as one of the finest Polish novels ever written and, along with Pharaoh (novel), made Boles?aw Prus a potential candidate for the Nobel Prize in literature. The influence of émile Zola is evident, and some have compared the novel to Madame Bovary by Gustave Flaubert; both were Prus's contemporaries. The movie, however, may be more compared to Stendhal's Le Rouge et le Noir, (The Red and the Black). The Doll constitutes a panorama of life in Warsaw between 1878 and 1879, and at the same time is a subtle story of three generations of Polish idealists, their psychological complications, their involvement in the history of the nineteenth century, social dramas, moral problems and the experience of tragic existence. At the same time this story describes the disintegration of social relationships and the growing separation of a society whose aristocratic elite spreads the models of vanity and idleness. In the bad air of a backward country, anti-Semitic ideas are born, valuable individuals meet obstacles on their way, and scoundrels are successful. This poetic love story follows a nouveau riche merchant, Stanislaw Wokulski, through a series of trials and tribulations occasioned by his obsessive passion for an aristocratic beauty, Izabela Lecka, played by the famous Polish actress, Beata Tyszkiewicz. Plot As a descendant of an impoverished Polish noble family, young Wokulski is forced to work as a waiter at Hopfer's, a Warsaw restaurant, while dreaming of a life in science. After taking part in the failed 1863 Uprising against Tsarist Russia, he is sentenced to exile in Siberia. On eventual return to Warsaw, he becomes a salesman at Mincel's haberdashery. Marrying the late owner's widow (who eventually dies), he comes into money and uses it to set up a partnership with a Russian merchant he had met while in exile. The two merchants go to Bulgaria during the Russo-Turkish War of 1877-78, and Wokulski makes a fortune supplying the Russian Army. The enterprising Wokulski now proves a romantic at heart, falling in love with Izabela, daughter of the vacuous, bankrupt aristocrat, Tomasz ??cki. In his quest to win Izabela, Wokulski begins frequenting theatres and aristocratic salons; and to help her financially distressed father, founds a company and sets the aristocrats up as shareholders in his business.The indolence of these aristocrats, who secure with their pensions, are too lazy to undertake new business risks, frustrates Wokulski. His ability to make money is respected but his lack of family and social rank is condescended to. Because of his help (in secret) to Izabela's impecunious but influential father, the girl becomes aware of his affection. In the end she consents to accept him, but without true devotion or love.(wikipedia)
主演：弗朗齊歇克·皮耶奇卡 馬里烏什·德莫霍夫斯基 耶日·斯圖爾 揚(yáng)·斯科特尼茨基 斯坦尼斯瓦夫·伊加爾
導(dǎo)演：克日什托夫·基耶斯洛夫斯基
簡(jiǎn)介：政府不顧民意反對(duì)，執(zhí)意要將古老寧?kù)o的小鎮(zhèn)變作一家大型化工廠的所在地，并言如此可以大大增加就業(yè)機(jī)會(huì)。有豐富企業(yè)管理經(jīng)驗(yàn)、對(duì)黨忠誠(chéng)的Stefan Bednarz（Franciszek Pieczka）被任命著手這一切。小鎮(zhèn)是Bednarz和妻子（Halina Winiarska）的故鄉(xiāng)，兩人多年前曾因一起事件離開(kāi)，今Bednarz要妻子同去，被拒?！ 」S建成之初，雖有居民抗議政府的暴行，但一切還算順利。投入生產(chǎn)后，之前居民擔(dān)憂的環(huán)境會(huì)日益糟糕等問(wèn)題凸顯，政府與居民的關(guān)系開(kāi)始緊張，Bednarz做中間協(xié)調(diào)人幾近憔悴。而電視臺(tái)導(dǎo)演（Michal Tarkowski）對(duì)工廠的持續(xù)關(guān)注、助手（Jerzy Stuhr）將居民意見(jiàn)刻意過(guò)濾、被迫與當(dāng)年迫使他和妻子遠(yuǎn)離故鄉(xiāng)的舊敵搭檔工作、女兒（Joanna Orzeszkowska）的漸行漸遠(yuǎn)等事情，則令他慢慢明白自己不過(guò)是一枚棋子，萌生辭職念頭。
主演：耶日·斯圖爾 克里斯提娜·楊達(dá) 卡里娜·謝魯斯克 馬里烏什·德莫霍夫斯基 馬雷克·瓦爾切夫斯基 揚(yáng)·諾維茨基 亨里克·比斯塔 萊昂·涅姆奇克 克茲佐夫·馬扎克 斯坦尼斯瓦夫·伊加爾
導(dǎo)演：皮奧特爾·舒爾金
簡(jiǎn)介：Set in an underground dungeon inhabited by bundled, ragged human beings, after the nuclear holocaust. The story follows the wanderings of a hero through the situations of survival. People wait for the Ark to arrive and rescue them while their habitat falls apart. Delving deep into the dusty and long abandonded vaults of b-cinema in search of lost gems always leaves me with a bittersweet taste. On one hand the discovery of unexpected gems where no one would think them possible is a rewarding experience. On the other hand though it makes one wonder how many of these remarkable low-budget oddities, personal love affairs of directors never quite famous and now all but forgotten, have almost forever slipped from memory n any case what we have here is a little post-apocalyptic gem from Poland that is really better than it has any right to. The dystopian near future of O-BI, O-BA finds a group of survivors of the nuclear war that ravaged the Earth inhabiting an underworld concrete bunker and biding their time as they wait for the mysterious Ark, an air ship of some kind that will come and save them. The Ark proves to be an elaborate hoax, carefully designed to give hope to the malnourished and desperate denizens of the bunker, while in the meantime the dome that separates their miserable existence from the nuclear winter outside is slowly caving in. What first striked me about the movie is the design of the bunker and the depiction of the survivors. The survivors are gaunt, filthy and terrible-looking penitents, dressed in rags and aimlessly wandering the neon-lit halls of the bunker like automatons. The bunker is a rundown, seedy place, with bright neon lights peering from all sides like the eyes of malignant beasts. On one hand it is a slightly 80's depiction of the dystopian future but the movie never stoops down to MAD MAX cheese. Instead it combines biting political satire with the bleak outlook of a world with no future, black comedy with barbs on apathy, religion and power. The survivors, for example, are fed some kind of flour dropping from a tube that hovers in the air - later on we discover the food supervisor uses books and the Bible itself as filler for this meagre meal. There are many such short symbolic touches, perhaps not life-changing or faith-restoring, yet playful, clever and inspired. One thing is for sure; O-BI, O-BA is not your run-of-the-mill sci-fi schlock. It overcomes its modest budget with creativity and has genuine artistic aspirations both from a writing and directing perspective. My opinion is that it should have been filmed in black and white instead of colour though. The director uses atmospheric light and shadow to great effect and it would have registered even better in stark black and white. The blue-green neon on the other hand outstays its welcome after a while. Just a minor gripe in an otherwise solid b-movie with its heart set in all the right places. Imagine a less bleak THE ROAD (Cormac McCarthy) being injected with the satire and humour of DR.STRANGELOVE and you're getting there. See it if you can find it.
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